Tag Archives: WW2

Gary Oldman shines in DARKEST HOUR (2017) – Cinema Review

DARKEST HOUR (2017) – CINEMA REVIEW

Directed by: Joe Wright

Produced by: Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas

Written by: Anthony McCarten

Starring: Gary Oldman, Kristin Scott Thomas, Lily James, Stephen Dillane, Ben Mendelsohn

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What makes human beings want to go to war?  What is it that determines thoughts and actions which will lead to the death of another human being? Is it: a genetic trait; a tribal desire; a psychological defect; financial gain; jealousy; boredom; passion; political chicanery; religion; greed; anger; revenge; or quite simply madness. Taking a life is something I have never understood. I mean, unless you are forced to defend yourself against a foe hell-bent on your destruction why would you wish to harm anyone else?

So, Adolf Hitler has a lot to answer for because, even accepting the political and social reasons for the rise of the Nazi party and his desire to repair national pride after the first World War, what the hell gives a nation the right to invade and conquer other countries. If you choose to go down that road you are signing the death certificate of a generation men and women and children. It’s not just Germany either. The British Empire, Roman Empire, Vikings, Mongols, United States of America, France and many more have waged war against humanity down the years. Will it ever stop? Sadly, I doubt it.

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In times of war what is needed is obviously bravery, steel, fight, intelligence and more than a little luck. You need hearty human beings to stand and be counted and to die on the battlefields and in the air and in the sea. You also need leaders; figureheads who can rally the troops and galvanise that last ounce of fight in order to repel the enemy. During World War II, with the country on its knees and backs to the walls we had many leaders, but Winston Churchill, above all else, became synonymous with victory.

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As portrayed in Joe Wright’s beautifully shot microcosmic epic, Darkest Hour, Churchill is presented as a flawed-pink-pyjama’d-cigar-chuffing-blustering-iconoclastic-functioning-alcholic prone to fits of rage, melancholy and depression. He also happens to be devilishly intelligent, full of energy, with a wicked tongue and talent for brilliant oration. Much of the plaudits must go to Gary Oldman, and his make-up team, for creating such a wonderfully human portrait. Indeed, Oldman owns the screen with his damned-near perfect impression.

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Anthony McCarten’s fine script centres on a finite number of days during World War II when Churchill became Prime Minister. Aside from one emotionally effective yet historically grating symbolic scene on the London underground, is it well written with fantastic one-liners and Churchill’s greatest verbal ‘hits’. Joe Wright is a talented director (the mis-guided Pan (2015) aside) and he evocatively conveys the shadow of looming defeat. Wright traps Churchill and ensemble in cars, lifts and in underground chambers. Shafts of light also pin the characters to the corners of the screen; pushing them toward the darkness. But through the spirit of Churchill’s never-say-die attitude we fought back against the Nazis and eventually stole victory from the jaws of defeat. War is hell. War is madness. But sometimes it is unfortunately a necessity to prevent the bullies from winning.

Mark: 8.5 out of 11

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WAR AS HEAVEN AND HELL! HACKSAW RIDGE (2016) REVIEW

WAR AS HEAVEN AND HELL! HACKSAW RIDGE (2016) REVIEW

**CONTAINS SPOILERS**

What is it with Andrew Garfield and his battles with the Japanese, armed only with his faith?  In a thematic replica of the compelling drama, Silence (2016), Garfield leads the cast of Hacksaw Ridge (2016) by portraying 7th Day Adventist, Desmond Doss, who while compelled to serve his country during World War II, declines, on principle to pick up a rifle and kill. He wants to save lives not end them. Now, I, as a screenwriter feel this is a fantastic base for drama and suspense; and so it turns out to be, in a rip-roaring, inspirational, bloody and heroic war film.

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Hacksaw Ridge is classic Hollywood filmmaking par excellence. Andrew Garfield’s Doss is a humble everyman we can all root for as he contends with a drunken father, and then with army training as colleagues and superiors fail to recognise his religious stance. In the final lengthy battle scenes he then faces the Japanese, along with his unit, as they clamber the eponymous Hacksaw Ridge in an attempt to gain control of Okinawa. This is where the action really takes off as the gruesome war scenes create an astounding flurry of bombs, shots, bullets-on-tin-and-bone and whooshing flame-throwers searing the skin of men. All produced by both sides apart from Doss who, incredibly without a rifle, saves many, many lives.

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Mel Gibson the storyteller doesn’t do grey areas in his narratives. Black is black; white is white; good is good and the Japanese are just plain bad. Indeed, this film reminded me of the good old-fashioned war epics of yesteryear such as Howard Hawks’ Sergeant York (1941) starring Gary Cooper. Moreover, the brilliant constructed action sequences echoed the kinetic majesty and orgiastic bloodbaths of Saving Private Ryan (1998); as well as the director’s own work in Braveheart (1995).

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Andrew Garfield inhabits the character of Doss perfectly exuding a homespun goodness and religious core which at no time feels sappy. He is ably supported by an excellent cast including: Hugo Weaving, Sam Worthington, Rachel Griffiths, Luke Bracey and scene-stealer Vince Vaughan. While the characters are essentially binary archetypes, the film stands ultimately as a formidable war film with suspense elements. Because we care so much about Doss, the tension is incredible during many nerve-jangling moments; and especially when he’s in the rat-infested Japanese tunnels.

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Given Mel Gibson’s controversial history especially when it comes to alcohol-related domestic fights, rants and convictions, he is no doubt looked at suspiciously by the public and filmmaking community. Thus, it meant he would have to produce something special to redeem his reputation in Hollywood; so a Best Oscar Director nomination aids his comeback. Yet, while this film does not represent total redemption for Gibson personally, he once again proves his value as a worthy movie-maker. Overall, via Doss’ heroics, Gibson, his writers, cast and crew demonstrate that war is hell but with such acts of compassion for humanity, Doss showed, it can represent a fragment of heaven too.